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SFX Analysis
Jason and the Augonauts:
Fitness for purpose
The effect is very suitable for the film and sequence. The skeleton soldiers could not have been done in any other way than people in costume which would have looked bad. The animation looks like it is actually there. When the film came out in 1963 this animation would have been very realistic.
Role of SFX co-ordinator
Ray Harryhousen created and animated all of the beasts. Not only was he the SFX co-ordinator he was also a co-producer for the film. He stayed overnight in the studio to make sure that the lighting stayed consistent so that the models would not look unrealistic.
Function of SFX
The SFX is used very well in the scene as it is used to bring to life mythical creatures that do not actually exist. Even though the skeletons are not actually real they look like they are actually there fighting Jason and the Argonauts which makes the scene more realistic.
Its aesthetic appeal to the audience
Compared to the animation we have In 2017, the animation does not look very realistic. However in 1963 when it came out the effects would look more realistic as it was the top end of animation and would not have advanced animation using cgi. The whole film features stop motion animation so the animation fits in seamlessly and works throughout the film.
The realisation of SFX including the materials, processes & techniques used in its construction
The SFX was made using stop motion and models of the skeletons. the actors would practice the scene against stuntmen then, film the scene with no stuntmen so that they could insert the skeletons into the scene in post production.
Star Wars:
Fitness for purpose / The realisation of SFX including the materials, processes & techniques used in its construction
Jason and the Augonauts:
Fitness for purpose
The effect is very suitable for the film and sequence. The skeleton soldiers could not have been done in any other way than people in costume which would have looked bad. The animation looks like it is actually there. When the film came out in 1963 this animation would have been very realistic.
Role of SFX co-ordinator
Ray Harryhousen created and animated all of the beasts. Not only was he the SFX co-ordinator he was also a co-producer for the film. He stayed overnight in the studio to make sure that the lighting stayed consistent so that the models would not look unrealistic.
Function of SFX
The SFX is used very well in the scene as it is used to bring to life mythical creatures that do not actually exist. Even though the skeletons are not actually real they look like they are actually there fighting Jason and the Argonauts which makes the scene more realistic.
Its aesthetic appeal to the audience
Compared to the animation we have In 2017, the animation does not look very realistic. However in 1963 when it came out the effects would look more realistic as it was the top end of animation and would not have advanced animation using cgi. The whole film features stop motion animation so the animation fits in seamlessly and works throughout the film.
The realisation of SFX including the materials, processes & techniques used in its construction
The SFX was made using stop motion and models of the skeletons. the actors would practice the scene against stuntmen then, film the scene with no stuntmen so that they could insert the skeletons into the scene in post production.
Star Wars:
Fitness for purpose / The realisation of SFX including the materials, processes & techniques used in its construction
The SFX is suitable for the scene as it fits in with the sequence. When the film was made it featured a new way to make moving space ships. The camera would move around the models instead of the models moving around the camera. This makes the flying look a lot smoother and more realistic, it also saves a lot more time. The re-releases of Star Wars include CGI versions of the space ships which does not look as good as the original. Having a cockpit made for the actors to sit in helps scene look more realistic and flows better. Just hearing the voices over the top of the model would not have looked as good and would not immerse viewers into the film. The models were made out of plastic meaning it was cheap for them to blow them up. The explosives were controlled and done professionally so that no one was injured.
Role of SFX co-ordinator
The SFX co-ordinator for Star Wars was Bruce Logan. He was in charge of making sure that all pyrotechnics went off and that the pieces on the death star surface board were fixed and replaced.
Function of SFX
The effect is used to make this exciting scene even more exciting and fast paced. having the trench run on a flat board with interchangeable pieces means the SFX team can blow up a section of it and then replace it if need be. Having a big cockpit for the actors to sit in makes the scene more immersive as we actually see who is piloting each certain spaceship and helps us side with the rebels.
Its aesthetic appeal to the audience
The scene looks realistic and looks as if there are actually spaceships flying around a huge space station. The models and the effect work well together as they are to scale and have lots of detail which makes them look good.
An American Werewolf in London:
Fitness for purpose The special effects for the transformation of the werewolf and the face wounds took many hours for the effect to come together. The actors had to sit through almost 6 hours of makeup for some scenes and would have to have this irritating face glue and makeup on their faces for hours. The SFX is pulled off extremely well however and all of those hours of makeup make the scenes horrific and look incredibly realistic.
Role of SFX co-ordinator / The realisation of SFX including the materials, processes & techniques used in its construction
Rich Baker the SFX co-ordinator won the first ever academy award for make up and hairstyling with An American Werewolf in London. For the transformation the SFX team created new ways of making the human look like he was distorting into the werewolf by creating Change-o heads, hands, and backs. these were prop like hands, head and back which had a mechanism which would push and distort them making it look like they were growing and shape shifting.
Its aesthetic appeal to the audience / Function of SFX
The SFX is very gruesome and is not pleasant to watch, making the audience really feel for the character as we understand all the pain he is going through. The effect is not pleasing to look at but on a quality of the aesthetic it is very good. For the scene with the werewolf's hair growing they shot it in reverse and shaved off a bit of hair each time to save shoot times.
Role of SFX co-ordinator
The SFX co-ordinator for Star Wars was Bruce Logan. He was in charge of making sure that all pyrotechnics went off and that the pieces on the death star surface board were fixed and replaced.
Function of SFX
The effect is used to make this exciting scene even more exciting and fast paced. having the trench run on a flat board with interchangeable pieces means the SFX team can blow up a section of it and then replace it if need be. Having a big cockpit for the actors to sit in makes the scene more immersive as we actually see who is piloting each certain spaceship and helps us side with the rebels.
Its aesthetic appeal to the audience
The scene looks realistic and looks as if there are actually spaceships flying around a huge space station. The models and the effect work well together as they are to scale and have lots of detail which makes them look good.
An American Werewolf in London:
Fitness for purpose The special effects for the transformation of the werewolf and the face wounds took many hours for the effect to come together. The actors had to sit through almost 6 hours of makeup for some scenes and would have to have this irritating face glue and makeup on their faces for hours. The SFX is pulled off extremely well however and all of those hours of makeup make the scenes horrific and look incredibly realistic.
Role of SFX co-ordinator / The realisation of SFX including the materials, processes & techniques used in its construction
Rich Baker the SFX co-ordinator won the first ever academy award for make up and hairstyling with An American Werewolf in London. For the transformation the SFX team created new ways of making the human look like he was distorting into the werewolf by creating Change-o heads, hands, and backs. these were prop like hands, head and back which had a mechanism which would push and distort them making it look like they were growing and shape shifting.
Its aesthetic appeal to the audience / Function of SFX
The SFX is very gruesome and is not pleasant to watch, making the audience really feel for the character as we understand all the pain he is going through. The effect is not pleasing to look at but on a quality of the aesthetic it is very good. For the scene with the werewolf's hair growing they shot it in reverse and shaved off a bit of hair each time to save shoot times.
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